The Dissolve's Scores

  • Movies
For 1,460 reviews, this publication has graded:
  • 34% higher than the average critic
  • 7% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Lowest review score: 0 Exists
Score distribution:
1460 movie reviews
  1. German director David Wnendt and his co-writer, Claus Falkenberg, are determined to package one teenager’s unhygienic coming-of-age into a slick, funny, accessible romantic comedy. They mostly pull it off.
  2. Prospects are dim no matter where these people choose to reside, and A River Changes Course captures their struggle with an ethnographic gaze that generally maintains enough detachment to avoid excessive, judgmental handwringing and heartstring-tugging.
  3. Daniel Dencik’s unusual documentary Expedition To The End Of The World sounds like a grand seafaring adventure, as expeditions to untraversed Arctic territory tend to be, but its tone is much more philosophical.
  4. There’s a good deal of the sick-and-twisted element of The ABCs Of Death here, but managed with better pacing, more maturity, and more room to build each segment.
  5. As Marty continues to run scams, the laughs continue unabated, but the dread only deepens, because we realize he’s a creature of need, capable of anything but empathy. And he’s been pushed to the precipice.
  6. While it’s corny by design, Hairspray also aims to get at something truthful, about the various kinds of prejudice weighing down the city circa 1963, and how youthful optimism and music made a difference, if only in the lives of those kids craving some kind of diverse, progressive community.
  7. If the purpose of The Hunting Ground is to raise awareness and call viewers to action, then mission accomplished. But the tactics used are often graceless and propagandistic, and take away from the moving testimonials and the on-the-ground organization at the film’s core.
  8. While Driver and Seyfried are both quite good, there’s nothing specific enough about their characters to avoid making the film feel like a blanket condemnation of a whole generation and their new ways of doing things.
  9. Güeros is a vivid illustration of factionalism’s brute outcome, which has people choosing up sides and tossing bombs at people, while dismissing their victims’ complicated lives and problems.
  10. Revenge Of The Mekons has none of the raggedness of the band’s best songs, and the movie only occasionally gets to that very Mekons place that novelist Jonathan Franzen describes in the film, where despair and rage over the world’s pervasive injustice resolves into something blackly humorous, and even triumphant. But Angio hasn’t made a glancing, broadly outlined fan-doc, either.
  11. Through it all, Gheorghiu finds the perfect pitch between a mother’s love for her child and a kind of pathology.
  12. [A] gripping, urgent, and often horrifying documentary.
  13. A Touch Of Sin stumbles in the coda, which makes the themes embedded in its title too explicit, but it’s a bold, invigorating statement from a director who keeps reinventing himself.
  14. It’s a soul-stirring tribute to a man whose vision was too bold and revolutionary for his lifetime, or the convention-bound ways of the music industry, but was ultimately too powerful to be denied.
  15. While it’s less playful and less giddily, enjoyably excessive than The Guard, it explores similar ground, as a good-hearted man largely abandoned by his community attempts to do the right thing as he sees it. But it brings in much more complicated matters of religion and morality, asking what it means to be a man of faith in an age of doubt.
  16. Keep On Keepin’ On is packaged like a standard-issue music documentary—albeit one with an unusually palpable affection for its subject—but Alan Hicks’ debut feature resonates as a beautiful illustration of how people can find each other.
  17. What makes it effective isn’t the facts of the case, so much as the way Philomena lets viewers spend time with its characters and get to know exactly who’s getting hurt.
  18. Locking into the film’s rhythms requires patience and an abandonment of preconceptions, but it’s nonetheless Alonso’s most accessible work to date, buoyed by spare but lush photography and Viggo Mortensen’s magnetic presence in the lead role. It takes a special kind of charisma to bring viewers along on a journey to nowhere.
  19. What really sets The Immigrant apart is how urgent it feels. Historical dramas often have a reserve that comes with perspective, but nearly a full century removed from this story, Gray seems, if anything, more emotionally invested here than in his contemporary dramas.
  20. Code Black doesn’t suggest ways to improve health care in America, but it at least documents one of the most noble and necessary professions with insight and humility.
  21. The simplified, handheld camerawork and the idea of “cutting for emotion” rather than continuity gets the most out of his actors, who are free to clash and improvise within a scene without worrying about hitting their marks.
  22. A Poem Is A Naked Person is littered with striking moments that fit casually into Blank’s study of fame and aspiration.
  23. It finds no clear answers, but that suits both the horrific event and this haunting, elusive film.
  24. The movie’s only real drawback is that its singleminded approach sometimes omits crucial information.
  25. Vikander is the main event here, and if Testament Of Youth is a testament to anything, it’s to her ability to embody great women with grace and battle-ready precision.
  26. Farahani’s elegiac documentary takes far more interest in Mohassess the man than Mohassess the artist.
  27. It’s simultaneously tricky and profound—a documentary about something small that gradually grows to cover so much more.
  28. Gunn, a B-movie enthusiast who got his start at Troma, has found a way to bring funkiness and humanity to a galaxy-spanning blockbuster, one filled with dogfights and floating fortresses, but also with heroes quick with a quip, fast on the draw, and more than a little beaten up by the universe.
  29. Hittman demonstrates enough talent in It Felt Like Love to suggest that she could make a terrific film. All she needs is an original idea.
  30. While The Hunt skillfully puts viewers through the wringer, it’s often for no higher purpose than pushing buttons and generating outrage.

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